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Clearly this is an overall commentary of the ideology we often call individualism. On the one hand, by radically challenging the rather whimsical and unchecked power of rocking the mic, Doo-Doo Brown cultivated the rights-infused ground upon which the females felt free of patriarchal inhibitions. To limit society's authoritarian power over individual freedom it becomes natural, felicitous, and just to establish relationships by consent—a "social contract" between pimps and the ho's they once ruled. Limited pimping authority and limited ho freedom are in this respect formed through mutual, if negative, exchange: Only by putting that face down and submitting that ass up do we reach an agreed upon social contract between parties. Reciprocally, pimp authority will gain social consent and, as such, legitimize its regulation of private pursuits—demanding submission to pussy popping and titty-freeing—only by protecting the individuals from internal deviants and external invaders. If anyone endangers or breaks the "inalienable" rights of citizens who consent to its authority, however, the pimps involved can emend the contract or even smack down with a strong, willful pimp hand. Indeed, it is well known that Luther Campbell helped to inspire and philosophically justify the Pimps Up/Ho's Down dynamic as well as the pursuit of wanting to rock. At least so goes the positive and popular version Doo-Doo Brown's legacy.

If you play it backwards, you find a poignant and well-researched study into Lise Meitner's work in nuclear fission and her subsequent exclusion by the Nobel Committee for award consideration. The song's conclusion is that if she had shown more booty she would have won.